What was the most memorable experience where you had to give an actor a technical note?
Generally I try not to “tell” an actor to do something, but I try to frame it as a request. Starting with “can you” or “would you mind”, because sometimes my technical request might interfere somehow with their process, or might inhibit some subtle character work they’re doing which I may not even be aware of. So if my request conflicts with that, then hopefully we can figure out a solution to make both things work.
I find that it helps to offer some incentive and a little explanation when making a request. It lands better and sticks in their minds more. For example, instead of asking “when you hit that mark, can you open slightly to the right”, I’ll say something like – “When you hit that mark, can you open up slightly toward this key-light here, that’s where your face is perfectly lit.” By adding that little bit, it gives them some personal vested interest and will probably stick in their memory better, because usually, they’re getting bombarded with notes and requests in between takes, all that on top of remembering their lines, body positions, timing, props, performance adjustments, it’s really a lot they have to juggle, all while trying to deliver a natural and compelling performance.
I really respect what they do, it’s not easy. That being said, I do remember a unique instance working with a particular actor, who took rather special handling. This person was (and still is) a very popular comedic actor who at the time was going through some mental health issues. This was a while ago when I was still a 2nd AC. I was doing all the slating with said actor, and the man was usually on edge and quite easily startled. Although, again, a brilliant comedian and performer. So every time I put the slate in front of his face I would have to say softly “Slate’s coming in”. And every single time I did that, through the course of the movie it must have been a few hundred times, every time he would look at me and give me a big, heartfelt “thank you”, as I softly hit the sticks and moved away. It was peculiar to say the least, but I learned then that actors are a very particular type of artist. They walk a fine and volatile line, manipulating their own emotions and baring their souls in many cases. So I understand that they’re people who sometimes need special handling and care and respect for their process.
Most communication with actors is done before a take or between takes, and usually only if you need them to do something specific for blocking, i.e., walking a banana instead of a straight line, pausing for a beat to allow the camera to get around, or making sure they hit their mark /don’t block another actor’s light/find their light, etc.
I was on a handheld show that ran for six seasons, and over the course of the run, the operators became very close with the actors and developed a level of trust that isn’t common on most sets. We were frequently on tight sets with not much room to move, and it became second nature (after much discussion over time) to nudge the actors into place during the shot if we needed help making it work. I wouldn’t dream of doing that on any other project, but it worked for that show and those actors. In that rare circumstance, it was better for everyone involved to gently move the actor, than to do a compromised take and go again.
I can’t really think of anything memorable (well maybe I can because I remember them) but giving an actor a technical note can potentially be tricky. There are some actors who are completely unfazed by anything “hey if I’m blocking, just lean in and push me to the left” - yes, I’ve honestly been told this and I’ve honestly done it. These are the easy cases because there is no issue whatsoever that they wont be able to fix easily for you and you can tell them anything.
Then there are the actors who, for whatever reason, do not want to hear anything technical and do not want to have to think about the nuts and bolts of the shot. They may not want to do anything outside of their character, they may not have the mental bandwidth due to what they are doing emotionally, and they may simply not be good technical actors, which by no means is any indication on how good they are.
So the first thing I would do is read the room. As you start a project, assess each actor as to what their needs are and how they work. Is an actor delivering a joke right up to action and then flips the switch and goes straight into a dramatic speech? That’s probably someone you can say “when you go aorund this corner can you banana out so I dont see that light” with no problem. Are they completely quiet, dont mess around, and seem a little withdrawn? You may be able to give them a note, but it also may fall flat, so proceed with caution.
Next up is who should give it and how. If you have a good realtionship, go for it. If they are standoffish, maybe ask the director if you should or they should. You may even ask the DP and depending on what is needed and what the scene is/who the actor is, they may say forget it.
Finally, if you do deliver a technical note, make sure it’s not something that is going to effect their performance (“I know you are jumping up and down because you are excited but I can’t keep up with you so could you stand still?”) and frame it as something you need from them that they have the ability to help you with - “Is there any way you can help me out by….”, “I’m having an issue with X and was wondering…” etc etc. Also, framing the problem and leaving it up to them to find a solution that works for them is always great.
Another good idea is to use the world you are living in. IF an actor is overshooting a mark ask them if you move a chair slightly forward to gove them an idea if that would be ok. If there is a specific path they will need to take, move things around so that the design of the room dictates that path so when they arrive it’s natural (assuming this looks ok and you check with the on set dresser).
The bottom line is that it is a tricky situation that can require finesse but being respectful of the process and what they have to deal with is the place to start.
I showed an actor one mark next to a desk after he had missed it in rehearsal, he responded “Oh, I don’t hit marks.” Two minutes later the DP came out and told him if he didn’t get to the mark nobody would see his face. He hit the mark next take.
In my opinion, it’s important to say how to do something right not what they’re doing wrong.
